Crew Job Titles - Positions - Descriptions | Film in Colorado Job Descriptions MOVIE CREW JOB TITLES Curious to know the difference between a Best Boy and a Gaffer in the movie’s ending credits? Want to know what a boom operator actually does? Don’t be confused and browse through our film crew glossary below. Learn all about the different crew job positions that occur on a film set! Art Department photo by: Steve Van Ness Art Directors – The art director works with the production designer and is responsible for the design and construction of a movie set. They are essentially assistants to the production designer and help construct the “look” and “feel” of the movie. Prop Maker – Prop makers and sculptors construct unique and specialized set props that are too difficult to attain, or too expensive to buy. This person builds these needed props from scratch using various materials that may include styrofoam, plastics, electronics, metals, woods or glass types of materials. This person is usually skilled in a wide variety of machining, construction and sculpting techniques. Prop Master – The prop master acquires, organizes, maintains and accounts for all the various props needed for the production. A prop is basically any set decoration piece that can be moved readily easily.

This includes many items like guns, knives, books, phones, dish-ware, food, musical instruments, pets or any other item that needs to be present to fulfill the story line. Scenic Artist / Painter – The scenic artist is in charge of designing and treating all of the set surfaces. This may include painting, plastering, coloring, texturing or applying any other sort of treatment to the set surfaces to create a look. Often times the scenic artist simulates stone, wood, lettering, metallic or brick on the various sets and scenery. photo by: Steve Van Ness Set Construction Coordinator / Builder – The construction coordinator supervises the fabrication and physical integrity of the various sets needed as directed by the production designer and art director. This person is also in charge of budgeting and ordering the needed materials for the set designs. The construction coordinator may also be responsible for hiring the carpenters. Set Decorator / Dresser – The set decorator makes the decisions on what furnishings and other decorations are going to be used on set. This person works closely with the art director and production designer to create the optimal visual environment for filming. This may include various items such as paintings, fabrics, and other non movable decorative set pieces.

Storyboard Artist – The storyboard artist creates a series of illustrations and sketches based on the director’s vision during pre-production. Each sketch represents a different camera set-up. These drawings usually include camera angles, characters and set design. The illustrations are then used to assist the other head departments in understanding their tasks. Camera Department photo by: Bob Carmichael Camera Assistant (1st AC) – The 1st AC is the chief assistant to the camera operator. The 1st assistant camera person is in charge of measuring and pulling focus during filming. The 1st AC also threads the film through the camera when a new magazine is loaded. This person also helps setup and build the camera, as well as maintain and clean the camera and lenses. Camera Assistant (2nd AC) – The 2nd AC is also known as the loader. The 2nd assistant camera person is primarily responsible for loading and unloading the new rolls of film into the different magazines, as well as maintaining and filling out all the camera reports for the film lab. This person also runs the slate or clapper to maintain sync and the correct labeling for each and every shot. Camera Operator – The camera operator physically controls and operates the camera during filming, under the direction of the D.P.

(Director of Photography). The camera operator works closely with both A.C.’s as well. The camera operator controls the shot’s framing, and the camera movements as instructed by the director of photography. Camera Operator (Aerial) – The aerial photographer or camera operator is qualified and equipped to film aboard aerial devices. This usually refers to small airplanes and helicopter filming, but more recently, the use of drone cameras are being widely used as well. Camera Operator (Jib Arm / Crane) – This person is responsible for setting up and operating the mechanical camera crane also known as the “jib arm”. The jib arm is primarily used for large establishing shots that require substantial elevation and smooth motion. photo by: Brooke Johnson Data Wrangling – This is a relatively new job position that has been created in response to the popular use of digital video formats. The data wrangler is usually responsible for organizing, labeling, downloading, duplicating and reformatting the digital storage disks for use on set and the editing room. Digital Imaging Technician – This is another new job position that was created in response to the popular use of high-end digital video formats. The digital imaging technician uses various image manipulation methods to achieve the highest possible image quality during the production.

This person usually manages the transferring and storage of the image data as well. Director of Photography – The director of photography (D.P.) is in charge of the overall visual look of the film, as seen through the camera. They recommend which cameras and lenses to use for the production. They design the shot’s framing, and the camera movements in conjunction with the director. They are also in charge of the camera crew, lighting design and collaborating with the gaffer. Photographer / Production Stills – This person takes still photographs and essentially documents the behind-the-scenes making of the production. Often, this person photographs images used for marketing purposes such as movie posters and DVD box art. Steadicam Owner / Operator – The steadicam is a camera mounting device that utilizes a mechanical arm attached to a body harness to provide extremely smooth hand-held shots. The steadicam operator is responsible for setting up and operating the steadicam during production. Most steadicam operators are very physically fit due to the amount of strength and endurance needed to operate the steadicam. Videographer – This person creates the video that essentially documents the behind-the-scenes making of the movie. This video isn’t normally used in the final version of the film.

It’s only used for the purposes of documentation. Food Department photo by: Justin Griesinger Assistant Food Stylist – The assistant food stylist assists the lead food stylist in the preparations and arrangements of the food. This person usually has an extensive background in cooking, recipe development, and the ability to assist in achieving creative solutions for making the food look the most attractive. Craft Service – Craft Services are the various snacks and beverages that are provided to the film crew throughout the day. This is separate from catering. The person in charge of craft service sets up and maintains a station near production that provides these snacks and beverages. The craft service person is given a budget prior to attaining all the refreshments. Food Stylist – The food stylist will prepare and arrange food in an appealing way to be used in photographs, commercials or movies. This person usually has an extensive background in cooking, recipe development, and the ability to achieve creative solutions for making the food look its most attractive. Lighting & Grip Department photo by: Steve Van Ness Best Boy – The best boy is the lead electrician on set and is in charge of all the other electricians, similar to how the key grip is in charge of all the grips.

The best boy usually operates, adjusts and balances the electrical load on the generator where required. This person is also responsible for distributing the electrical cabling properly providing the required power to each of the lights. Electrician – The electricians (or juicers) essentially set up and operate all the lighting instruments and cabling as instructed by the best boy or gaffer. This is a physically demanding job due to the large number of heavy lights and cabling often required. Electricians must be knowledgeable of tungsten and HMI lighting as well as changing and installing bulbs properly. Gaffer – The gaffer is also known as the chief lighting technician. This person is primarily responsible for developing a lighting plan according to the desires of the Director of Photography. The gaffer informs the best boy and key grip on where and which lights are to be placed. The gaffer is in charge of creating the best possible lighting scenario according to the camera framing. Grip – Grips essentially “shape the light” that is provided by the electricians. This includes creating pattern and shadow effects, coloring light, diffusing light or blocking light.

While electricians set up the lights and cabling, grips provide everything else that is built around the lights to create the quality of light that the gaffer desires. They also provide a variety of special rigging, securing and safety measures on set. Key Grip – The key grip is the lead grip on a film set and in charge of all the other grips. The key grip and best boy collaborate with the gaffer and D.P. to formulate the best tactic for accomplishing a given shot. The key grip oversees the proper camera rigging mechanisms as well as manages the light blocking and diffusing techniques. Locations Department photo by: Justin Griesinger Location Manager – This person is in charge of attaining all the legal permits and other clearances needed to gain proper permission for filming in a particular location. The location manager also takes care of attaining and processing any other location permit fees as well. On some smaller shoots, the location manager assists in coordinating the parking of vehicles. Location Scout – Quite often the location scout is one of the first crew members to be contacted on a production. The location scout assists in finding the various filming locations according to the producer and director’s desires.

Location scouts often have a large database of location photographs to show before traveling to the actual location for filming. Makeup & Wardrobe Department photo by: Steve Van Ness Costume Designer – The costume designer makes decisions on which wardrobes and costumes actors will wear based on the script requirements and character portrayals. Costume designers create or choose various clothing patterns, designs, colors, sizes and accessories for each wardrobe used during production. On larger movies, the costume designer has several assistants helping to organize, disperse and maintain all the costumes used by the cast. Hair Stylist – This person is responsible for styling and maintaining the talent’s hair throughout filming. The hair stylist is usually equipped with all of the appropriate supplies needed for the hair styling process. The hair dresser works in conjunction with the make-up artist to attain the best possible look for the actors and actresses. Makeup Artist – The makeup artist’s main task is to apply and create a variety of looks on the actors and actresses skin surfaces with makeup, from current trends to classic or period pieces. The makeup artist creates a look according to the director’s desires, often inspired by the characterizations in a story.

Special FX Makeup – The prosthetics or special effects makeup person uses a variety of techniques for applying and gluing different materials such as latex, gelatin and other colorations which are used on the face or skin of an actor. Gore and blood, burns, creatures and aging special effects are the more commonly used prosthetic makeup techniques. Wardrobe Stylist – The wardrobe stylist works closely with the costume designer, and assists with preparing everything related to the actors clothing, costumes and wardrobe. Common tasks of the wardrobe assistant are maintaining and styling for all the wardrobes worn by the various actors. They also assist in helping to organize, disperse and account for all the costumes used on set. Production Department photo by: Steve Van Ness Assistant Director / 1st AD – The 1st assistant director works with both the production manager and the director to make the shooting schedule efficient as possible. The 1st A.D. breaks the script down into a shooting schedule and also helps manage the scheduling of talent, crew and equipment needed for each shooting day. This person sometimes helps direct the background extras in a scene. Assistant Director / 2nd AD – The 2nd A.D. works directly with the 1st A.D.

to accomplish their duties. The call sheets for each shooting day are created by the 2nd assistant director. The 2nd A.D. also helps manage the scheduling of talent, crew and equipment that is needed for each day. This person also assists in directing the background extras in a movie scene. Director – The director is the leading creative artist on a movie set. The director works directly with the actors on their performances and has final creative control on almost every aspect of the the film. The director plays a large role in casting, script revisions, shot composing and even editing. Usually, the director is hired by the producer of the film. Line Producer – The line producer supervises the entire budget of the movie. Expenses may include celebrity salaries as well as daily costs like location and equipment rentals. The production manager reports to the line producer the current expenses and needs of the production on an ongoing basis. Producer – The producer helps organize the entire production. This person helps develop the script into a workable project. They assist with the hiring of actors and key crew members, while keeping track of finances throughout the production. The producer oversees script progress and often assists in creating final distribution plans for the movie.

photo by: Steve Van Ness Production Assistant – Many individuals start their careers in the film industry as a production assistant. A production assistant usually does any general duty or minor task that the production heads may need. Basic duties may include dispersing walkie-talkies, setting up pop-up tents and tables, running basic errands as needed or attaining any other last-minute item that the production might need. It is essential that the P.A. has their own transportation to perform these various errands. Production Coordinator – A production coordinator is responsible for coordinating the “behind the scenes” logistics, which can include renting equipment, hiring crew members, and coordinating talent. In addition, this crew member may handle the paperwork needed to organize the production. For this reason, the production coordinator is an important crew member in ensuring a production’s goals are on budget and on time. Production Designer – The production designer works with the director and is primarily responsible for the design and overall visual “look” and “feel” of a movie. This includes the use of costumes, landscapes, props and other visual scenery that could reflect the movie script. Production Manager – The production manager works closely with the production coordinator.

This person helps supervise the organization and distribution of the production budget, crew & equipment scheduling, salaries, day rates, and other office related paperwork. This person reports budget needs to the line producer, while trying to keep the production under budget on a day to day basis. Production Secretary – The production secretary is the assistant to the production manager. This person assists with the paperwork for the crew & equipment scheduling, timecards & invoicing, crew deal memo’s and other related office materials. The production secretary usually helps complete most of the paperwork needed to properly finish the production. Script & VTR Department photo by: Bob Carmichael Script Supervisor / Continuity – The script supervisor works closely with the director by taking detailed notes concerning what has been shot, needs to be shot, and also notes any deviations from take to take. He/she also makes sure that the dialogue corresponds with the script. The script supervisor also takes logging notes that are essential in the post production editing process, such as locating shots and finding the best takes. Many times the script supervisor assumes the role of continuity, ensuring the consistency between scenes and shots.

Teleprompter Operator – The teleprompter is a device that mounts to the front of the camera and contains a scrolling text for the actor to read while looking into the lens. This technique is also used by newscasters. The teleprompter operator helps set up the teleprompter on the camera as well as the computer that provides the scrolling text program. This person is usually given the script ahead of time so that they can enter it into their computer before arriving on set. Video Assist Operator – The video assist person operates the VTR (Video Tape Recorder) during production. Most film cameras include a video tap that allows the VTR to record and instantly playback what was just filmed. Since you can’t review 35mm film without it getting processed in the laboratory first, this can be an especially useful tool on set. Video assist is the term used to describe this record and playback process. Reviewing the footage instantly allows the director to confirm performances, camera focus, framing, choreography and other elements for accuracy. Sound Department photo by: Bob Carmichael Boom Operator / Utility – This person is responsible for properly positioning the microphone boom pole during the actual filming. The boom operator is the assistant to the sound mixer.

Many times the boom operator is required to hold the boom pole for several minutes at a time, which can be physically demanding. The boom operator must also be able to follow the actors movements while staying clear of the camera and lights. This makes it a challenging job for achieving the best possible audio. Sound Mixer – The sound mixer for film is head of the sound department and is responsible for leveling, monitoring and recording of audio during production. The sound mixer decides which microphones to use as well as placements of the microphones. This person can also mix the various sound tracks and audio signals in real time. A film sound mixer supervises the boom operator and/or sound utility person. Stunts & FX Department Pyro Technician / Explosives – Sometimes also known as the armorer, this person is primarily responsible for the handling, maintenance and care of all firearms, weapons and pyrotechnics that are used during filming. This includes all live-action explosives and and battle scene pyro effects. Pyro technicians are usually trained and certified to handle these dangerous props and explosives. photo by: Bob Carmichael Special Effects Coordinator – The special effects coordinator designs and supervises the various effects needed for filming through the use of mechanical and/or optical illusion techniques.

The special effects coordinator provides the visual elements needed such as recreating weather elements or assisting with props that break, shatter, collapse, burn, smoke or explode. They also provide the special mechanical rigging that allows you to fly an actor. Special Effects Technician – A special effects technician works under the special effects coordinator and assists in physically creating the visual elements needed like weather elements, or assisting with props that break, shatter, collapse, burn, smoke or explode. They also help build the special mechanical rigging that allows you to fly an actor. Stunt Coordinator – The stunt coordinator manages and coordinates all the dangerous action sequences in a movie that require a stuntman or stunt performer. The stunt coordinator always follows the appropriate safety regulations during filming to ensure the safety of every stunt performer. Types of stunts may include jumping, flipping, diving, free-falling, crashing cars, catching fire, underwater stunts and other dangerous action sequences where stunt doubles are needed. Transportation Department photo by: Brooke Johnson Captains / Gang Boss – The transportation coordinator, or gang boss, organizes and provides a variety of vehicles and transportation for all crew, equipment and actors to and from the filming locations.

The transportation coordinator/captain deploys the appropriate vehicles and drivers at the proper times to keep the production on schedule and on budget. They also work closely with the locations manager in attaining the proper parking permits and parking locations for all vehicles. Transportation Driver – The transportation driver works under the supervision of the transportation captain. Transportation drivers physically drive and operate all provided production vehicles to and from the filming locations. This includes the transport of all crew, equipment and actors safely to and from the film set while staying on schedule. Types of production vehicles may include cube trucks, passenger vans, stake beds, flatbeds, limos, cars or any other needed production vehicle. Movie crew, movie crew and cast, movie crew jobs The head carpenter is the foreman of a "gang" of carpenters and laborers. Scenic • Key Scenic The key scenic artist is responsible for the surface treatments of the sets. This includes special paint treatments such as aging and gilding, as well as simulating the appearance of wood, stone, brick, metal, or stained glass--anything called for by the production designer. The key scenic artist supervises the crew of painters, and is often a master craftsperson.

Greens • Greensman The greensman is a specialized set dresser dealing with the artistic arrangement of plant material, sometimes real and sometimes artificial. Depending on the scope of the greens work in a film, the greensman may report to the set decorator or may report directly to the production designer. Hair & Makeup • Makeup artist Makeup artists are beauticians that apply makeup to anyone appearing on screen. They concentrate on the area above the chest, the face, the top of the head, the fingers, hands, arms, and elbows. Their role is to manipulate an actor’s on screen appearance whether it makes them look more youthful, larger, older, or in some cases monstrous. There are also body makeup artist who concentrate their abilities on the body rather than the head. • Hairdresser The hairdresser (or "hair stylist") is responsible for maintaining and styling the hair of anyone appearing on screen. They work in conjunction with the makeup artist. Wardrobe • Costume Designer The costume designer is responsible for all the clothing and costumes worn by all the actors that appear on screen; as well they are responsible for designing, planning, and organizing the construction of the garments down to the fabric, colors, and sizes.

The costume designer works closely with the director to understand and interpret "character," and works with the production designer to achieve an overall "look" for the film. • Costumer Supervisor The Costume Supervisor works closely with the designer. In addition to helping with the design of the costumes, the Costume Supervisor manages the wardrobe workspace. They are responsible for supervising the construction or sourcing of garments, the hiring and firing of support staff, the budget, paperwork, and department logistics. • Costume Standby The Costume Standby is present on set at all times. It is their responsibility to monitor the quality and continuity of the actors and actresses costumes before and during takes. They will also assist the actors and actresses with dressing. • Art Finisher An Art Finisher may be employed during the pre-production stage to "break down" garments. This specialized job includes making new clothing appear dirty, faded and worn. • Buyer On large productions a Boyer may be employed to source and purchase fabrics and garments. Camera • Director of photography The director of photography is the chief of the camera and lighting crew of the film. The DoP makes decisions on lighting and framing of scenes in conjunction with the film's director.

Typically, the director tells the DoP how he or she wants the film to look, and the DoP then chooses the correct aperture, filter, and lighting to achieve the desired effect. • Cinematographer The term cinematographer has been a point of contention for some time now. It is usually synonymous with "director of photography," though some professionals insist that it only applies when the director of photography and camera operator are the same person. • Camera operator The camera operator uses the camera at the direction of the cinematographer, director of photography, or the film director to capture the scenes on film. Generally, a cinematographer or director of photography does not operate the camera, but sometimes these jobs may be combined. • First assistant camera operator (focus puller) The first assistant camera operator (1AC) is responsible for keeping the camera in focus as it is shooting. Since the 1AC is not looking through the camera and cannot see the results of his or her focusing in real time, this job is considered to be extremely technically difficult.

It is also the 1st AC's responsibility to maintain the camera during the duration of the filming period, apply or remove any necessary or unnecessary accessories (such as matte boxes, lens changes, filters, external viewing monitors, video assist devices, etc.), reload the camera (whether with film or video tape) and oversee the 2nd Assistant camera operator and any other members of the camera assist team (including designated loaders and camera production assistants). Second assistant camera operator (clapper loader) • The second assistant camera operator (2AC) operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes, if there is no additional specifically designated film loader. The 2AC is also in charge of overseeing the meticulously kept notebooks that records when the film stock is received, used, and sent to the lab for processing. Additionally, the 2nd AC oversees organization of camera equipment and transport of the equipment from one shooting location to another. • Loader The loader is the designated film loader. He transfer's motion picture film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 1st AC.

After exposure during filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport to the laboratory. It is the responsibility of the loader to manage the inventory of film and communicate with the 1st AC on the film usage and remaining stock throughout the day. On small production crews, this job is often combined with the 2nd AC. With the prevalence of digital photography, this position is often eliminated. • Camera Production Assistant (camera intern) Usually a volunteer or trainee in the camera department, the camera PA assists the crew with menial details while learning the trade of the camera assistant, operator or cinematographer. • Digital Imaging Technician ("DIT") On digital photography productions the digital imaging technician is responsible for the coordination of the internal workings of the digital camera. Under the direction of the cinematographer or director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to creatively or technically manipulate the resulting image. Production Sound • Production sound mixer The production sound mixer is head of sound department on the set, responsible for recording all sound on a set. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time.

• Boom operator The boom operator is an assistant to production sound mixer, responsible for microphone placement and movement during a take. The boom operator uses a boom, a special piece of equipment that allows precise control of the microphone at a much greater distance away from the actors. In France, the boom operator is known as the perchman. Grip • Grips are trained lighting and rigging technicians. The main responsibilities of a grip are to work closely with the electrical department to put in the lighting set-ups necessary for a shot. On the sound stage, they are responsible for moving and adjusting major set pieces when something needs to be moved to get a camera into position. They may belong to the International Alliance of Theatrical Stage Employees. • Key grip The key grip is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help set up the set and to achieve the correct lighting and blocking. • Best boy grip The best boy grip is the chief assistant to the key grip. • Dolly grip The grip in charge of operating the camera dolly is called the dolly grip.

He/she places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders. Electrical • Gaffer The gaffer is the head of the electrical department, responsible for the design and execution of the lighting plan for a production. Sometimes the gaffer is credited as "Chief Lighting Technician". • Best boy electric The best boy electric is the chief assistant to the gaffer. • Lighting technician Lighting technicians are involved with setting up and controlling lighting equipment. Editorial • Film editor The film editor is the person who assembles the various shots into a coherent film, with the help of the director. Film editors may belong to the American Cinema Editors (A.C.E.) • Chyron operator The Chyron operator creates titles and/or text graphics -- Chryon is a brand name for a character generator. • Color timer The color timer works in a film lab to adjust the color of the film. • Negative cutter The negative cutter cuts and splices the negatives as directed by the film editor, and then provide the assembled negative reels to the lab in order for prints (positives for projection) to be made.

Visual Effects • Visual effects supervisor The visual effects supervisor is in charge of the visual effects department. Visual effects refer to post-production alterations to the film's images. They are not to be confused with special effects, which are done during production (on set). Sound/Music • Sound designer The sound designer, or "supervising sound editor", is in charge of the post-production sound of a movie. Sometimes this may involve great creative license, and other times it may simply mean working with the director and editor to balance the sound to their liking. • Dialogue editor The Dialogue editor is responsible for assembling and editing the dialog in the soundtrack. • Sound editor The Sound editor is responsible for assembling and editing the sound effects in the soundtrack. • Re-Recording Mixer Balances all of the sounds prepared by the dialogue, music and effects editors, and finalizes the films audio track. • Music supervisor The music supervisor, or "music director", works with composer, mixers and editors to create and integrate the film's music. • Composer QuickFilmBudget.com | Film Glossary Chief Rigger: A person in the electrical department who connects wire and electrical devices. Clearance: A legal process to determine if names and titles are legally unrestricted to use.

Comedy Genre: A genre of films where the story is filled with all kinds of humor and jokes. These films usually feature comedic stars, directors and writers. Company Representative: Someone sent by the production company to the production set to represent its interests. Composer: A musician whose music appears in a movie's score. Most movies have at least some original music written for the score, usually after the relevant parts of the movie have been filmed. Construction Coordinator: Through drawings, a construction coordinator is directed artistically by the Production Designer and Art Director to produce their "vision" in three dimensions. He is also responsible for the physical integrity of the structures built by the construction department. Cook-Driver: The person in charge of cooking and driving the cooking truck to set. Coordinator Van/Trailer: The vehicle used on location by the production staff. Copy of M&E: The music and effects sound deliverable. Copyright: The costs related to obtaining copyrights on the film. Costume Designer: The section of a production's crew concerned with costumes. CPU Rentals: The costs related to any computer or printer rental equipment.

Craft Service Foreman: The person (or people) available to assist the other crafts which include camera, sound, electricians, grips, props, art director, set decorator, hair and makeup, service the other crafts during the actual shooting of a motion picture, with tasks including providing snacks and cleaning the set. Craft Service: The person (or people) available to assist the other crafts which include camera, sound, electricians, grips, props, art director, set decorator, hair and makeup, service the other crafts during the actual shooting of a motion picture, with tasks including providing snacks and cleaning the set. Cranes: Cranes usually carry both the camera and a camera operator, but some can be operated by remote control. A shot taken by a camera on a crane, often used to show the actors/action from above. Crew Cab Driver: The driver responsible for transporting crew members. Crew Maxi Van: The van used to transport crew members. Crew Workspace: An area on set designated for crew members to work. DAT Audio: Digital Audio Tape (DAT or R-DAT) is a signal recording and playback medium. Delivery Items: Items required by the distributor in the distribution agreement.

DGA: The Directors Guild of America Director: The principal creative artist on a movie set. A director is usually (but not always) the driving artistic source behind the filming process, and communicates to actors the way that he/she would like a particular scene played. A director's duties might also include casting, script editing, shot selection, shot composition, and editing. Typically, a director has complete artistic control over all aspects of the movie, but it is not uncommon for the director to be bound by agreements with either a producer or a studio. In some large productions, a director will delegate less important scenes to a second unit. Director of Photography: A cinematographer who is ultimately responsible for the process of recording a scene in the manner desired by the director. The Director of Photography has a number of possible duties: selection of film stock, cameras, and lenses; designing and selecting lighting, directing the gaffer's placement of lighting; shot composition (in consultation with the director); film developing and film printing. DME: The sound deliverable of the Dialogue, Music, and Effects which is usually delivered on a hard drive. Dolby License: The license agreement that indicates the filmâ€™s recorded audio content has been encoded with Dolby technologies.

Dolly Grip: A grip that moves a dolly. Drama Genre: A genre of films about serious stories with settings or life situations that portray realistic characters in conflict with either themselves, others, or forces of nature.Â These films usually contain less special and visual effects than thrillers and action films. Draper Foreperson: The lead person who deals with cloth for the set. DVCam Avid Inputs: Digital Video Camera recorded from the film which is used to edit on editing computer systems. E&O Insurance: Insurance which gives coverage for claims of alleged professional errors and omissions which amount to negligence. Editing & Projection: Film editing is the process of selecting and joining together shots, connecting the resulting sequences, and ultimately creating a finished motion picture. Editing Room: The room where the editor and his staff piece together shots to create the film. Editor: A person who performs editing (in consultation with the director) on a movie. Special EFX Coordinator: The person in charge of coordinating those visual elements in movies and television such as fog, smoke, lightning, breaking furniture, snow, or the like, that are used to effect reality in the picture or videospace and that are either impossible or impractical to produce firsthand.

Special EFX Foreman: The person responsible for bringing the material needed for special effects. Electrical: The department in charge of all electrical matters (primarily lighting) for productions. Electronic Press Kit: A press kit equivalent in electronic form that is used to promote the film for sales purposes and bonus dvd featurrette material. Executive Producer: A producer who is not involved in any technical aspects of the filmmaking process, but who is still responsible for the overall production. Typically an executive producer handles business and legal issues. Extra Casting Fee: The fee paid to the casting agent in charge of casting extras. Extra Talent: A person who appears in a movie where a non-specific, non-speaking character is required, usually as part of a crowd or in the background of a scene. Extras (Non-Union): A non-union person who appears in a movie where a non-specific, non-speaking character is required, usually as part of a crowd or in the background of a scene. Fades & Dissolves: An editing technique whereby the images of one shot is gradually replaced by the images of another. FICA: Federal Income Contributions Act tax. Film & Lab: The process of transferring images from a negative print to a print.

First Aid Person: The set medic provides for the medical needs and emergency medical logistics of the entire cast and crew and is the safety liaison between production/construction and various agencies. This person may be an emergency medical technician, paramedic, nurse, or physician. Most often the set medic is involved in the production from the beginning of preproduction or construction through filming or production through striking the set or post-production. Fittings: The process where the costumers measure actors sizes for their wardrobe. FUI: Federal Unemployment Insurance Gaffer: The head of the electrical department, responsible for the design and execution of the lighting plan for a production. Gang Boss: The person in charge of construction labor. Gas & Oil: Fuel used for transportation. General Expenses: Expenses that do not go directly to any aspect of filming but are necessary in a film production. Generators & Gas: A mechanical engine which produces electricity from fuel (usually diesel). Frequently used for location shooting, either due to the unavailability or insufficient quantities of electricity locally available. Genie Operator: The person who operates the generator. Graphics: Anything that needs to be printed, including pictures and signs. Greens: Any vegetation that is procured, placed, and maintained on a set.

Grip: A skilled person responsible for the set up, adjustment and maintenance of production equipment on the set. Their typical duties involve camera movement, lighting refinement, and mechanical rigging. Grip 10-Ton: A 10 ton truck used to transport grip equipment. Hair Stylist: An additional person hired that is responsible for maintaining actors' hairstyles during filming. Head Hair Stylist: The person responsible for maintaining actors' hairstyles during filming. Head Makeup Artist: The person in charge of the make up department. They actually design the make up for each actor/actress and assign individual make up artists to apply it. Honeywagon: A vehicle on set for principal actors. Horror Genre: A genre of films that strives to evoke the emotions of fear, horror, and terror from viewers.Â These films usually feature more special and visual effects than comedies and dramas but less expensive actors than other genres. Hotel: Costs for renting a room at a hotel. Hotel & Living: The costs for hotel rooms and per diems. Insurance: The cost of an insurance policy. For Production Insurance, contact Movieinsure.com, Inc. .

Internegative (IN): An internegative is motion picture film stock used to make release prints for distribution to movie theatres. Interpositive (IP): An orange-based motion picture film with a positive image made from the edited camera negative. The orange base provides special color characteristics that allow for more accurate color reproduction than if the IP had a clear base, as in print films. Key Assistant Location Manager: The person who assists the location manager.Â The responsibilities include being on set to represent the film production to the location liaison. Key Grip: The key grip works closely with the director of photography and the gaffer to sculpt the desired look of a film by diffusing and cutting the light. The key grip is also in charge of camera movement whether on a dolly, camera crane or mounted on the hood or bumper of a vehicle. Key Set PA: The head set production assistant. Lab Processing: The process of developing exposed film. Laborer: Additional crew members in the set construction department. Lead Scenic: The person in charge of background art on set. Leadperson: The member of the art department who is in charge of swing gangs and/or set dressers and reports to the set decorator. Legal Fees: Charges paid to lawyers.

For IP and legal services, contact Cohen IP Law Group, P.C. Lighting: Most productions use artificial lighting when filming for various technical and artistic reasons, both on location and on a set. Lighting is designed by the director of photography in consultation with the director, and is the responsibility of the electrical department. Lighting Technician: A member of the electrical department that is responsible for operating lights and lighting equipment on a set. Loader: The person who operates the clapboard at the beginning of a shot, also responsible for loading film stock into film magazines. The action of slapping the clapper was invented as a way of synchronizing the visual and audio components of a shot. Location: When filming off-stage, production will use a real location or site for filming. Location Fee: The cost to film in a location. Location Liason: A representative from the location who is supposed to answer technical and logistic questions about the site while watching over it for the locationâ€™s owner. Location Manager: A person who manages various aspects of filming a movie on location, such as arranging with authorities for permission to shoot in specific places. Location Site Rentals: The cost to rent a location.

Location Site Restoration: The costs to repair and restore a location to its original conditions. Lodging: Hotel fees for above and below the line talent. Looping: The recording of an actor speaking lines in sync to "loops" of the image which were played over and over along with matching lengths of recording tape. Loss & Damage: An amount budgeted to pay for possible loss and damages to rented equipment. Low Contrast Print: Similar to an interpositive, a low contrast print is used for television/video tape transfers. These transfers often increase image contrast, and so are improved when they are mastered from a low-contrast print. These prints can be projected as well, but lack the color saturation and contrast of a standard release print. Main & End Design: The design for the main and end title sequences. Makeup & Hairdressing: The decorations placed directly on the skin or hair of an actor for cosmetic or artistic effect. Makeup Artist: The people who applies the make up to the actor. Make-Up Truck: The truck which carries the make-up and sometimes where the make-up is applied to actors. Medicare: A fringe tax that provides health insurance for workers. Mixer: The head of the sound department on the set.

They are responsible for the process of recording all sync dialog and sync sound effects in a scene. The Production Sound Mixer has a number of duties, including selection and operation of the microphones, and recording equipment used on the set, directing the boom operator, combining the sound of multiple microphones used to capture dialog and effects on a set, recording sound ambiance and room tone for all scenes, and wild track that will aid the editor and sound mixer in matching the different sound takes in a scene for smooth sound transitions. MPAA Rating Administrative Fee: The fee charged by the MPAA to rate a film. Music Editor: The person who coordinates the work of the composer, the editor, and sound mixers. Alternately, a person who researches, obtains rights to, and supplies songs for a production. Music Editor Equipment: Equipment used by the music editor, including computers, ProTools and Digital Audio Workstation. Music Elements: The deliverable holding all of the music for a film. Musical: A movie whose dramatic story structure includes unrealistic episodes of musical performance and/or dancing.Â Negative Cutting: A person who matches the negative of a movie and conforms (matches) it to the final version of the film as decided by the filmmakers.

From this negative the prints are made. Office Furniture/Equipment Rental: Rentals fees to pay for office furniture and equipment. Office PA: Production Assistants who are based in the production office. Optical Effects: A laboratory or print procedure in which shots are modified by use of an optical printer. These are most commonly seen as fades and dissolves. Optical Sound Negative: A device used to store the sound on photographic film. Optical Transfers: The process where two images are projected onto a flat plane, such as photographic film. Outside Rentals: Equipment rentals by Set Operations, including condors, scissors and car mounts. Paint Decorator: The person in charge of painting the sets. Payroll: The disbursement of weekly salary payments to crew members usually through a payroll company. Permits: A legal permission for a particular film activity. Phone/Communication Equipment Rental: Costs of phones and communication equipment rented for the film. Photography: Pictures taken by the production designer. Picture Cars: A vehicle shown in a movie. Pix Vehicle/Animals: Cars used by principal actors on screen; Animals featured on screen. Police/Fire/Security: Police, fireman and security hired to protect the set.

Post Production: Work performed on a movie after the end of principal photography. Usually involves editing and visual effects. Post Production Accounting: Accountants and accounting employed during post production. Post Production Office Rental: The costs for renting an office specifically for post production. Post Production Sound: The process during post production of mixing production sounds with new sounds to create sound deliverables. Post Supervisor: The person overseeing the entire post-production of a project. They report directly to the producer and/or the studio in charge of the feature. Working side by side with the director and editor, the supervisor has the responsibility of finishing the film on time and on budget while satisfying the wants of the director. Post-production supervisors have authority over post-production coordinator. Typical duties include: controlling all activities with vendors such as optical houses, sound facilities, inserts, ADR, re-shooting, CGI, score, delivery requirements to domestic and international distributors, legal clearances, preview screenings, color timing, video mastering and budgeting the movie through the completion and delivery. Premium, General Liability: Insurance costs to protect businessmen from a broad variety of liabilities. This could include accidents from the premises or operations of an insured. They could also include products sold and completed operations.

Prep: Arrangements made before the start of filming. This can include script editing, set construction, location scouting, and casting. Preview Expenses: The costs of screening the film to an audience as a preview. Principal Cast: Actors that have lines and are paid at least SAG union rates. Prints & Reprints: A projectable version of a movie, usually consisting of one or more reels. Processing: The process of chemically treating exposed film to create a negative. Producer: The chief of staff of a movie production in all matters save the creative efforts of the director, who is head of the line. A producer is responsible for raising funding, hiring key personnel, and arranging for distributors. Production Accountant: The head accountant during production responsible for managing finances and maintaining financial records during film production. They work closely with the Producer and the production office to prepare schedules and budgets for film productions, as well as managing the day-to-day accounting office functions, and reporting the projects' financial progress against the budgets. Production Assistant (PA): A person responsible for various odd jobs, which could include such disseparate tasks as running errands, stopping traffic, acting as couriers, fetching items from craft service, etc.

Tasks and levels of responsibility can vary greatly, depending on the film, the needs of the rest of the team, and the skills of the individuals PA themselves. Production Coordinator: The person responsible for assisting in all aspects of department scheduling, project time tracking and master file-keeping, and maintaining cast travel and contracts. Production Designer: An artist responsible for designing the overall visual appearance of a movie. Production Office Rent: Rent paid for production offices. Production Office Supplies: Costs for purchasing paper, staples, tape, etc. Production Sound: Sound recorded during production. Production Van: A vehicle used during production to transport actors and crew. Production Van Driver: The driver of the production van. Prop Master: The person responsible for buying, acquiring, and/or manufacturing any props needed for a production. The property master is responsible for all aspects of prop use on the set and, in conjunction with the script supervisor, for maintaining set continuity. Prop Person: Someone who assists the prop master in creating and tracking props used in the film. Property: Anything an actor touches or uses on the set; e.g. phones, guns, cutlery, etc. Movie animals and all food styling (food seen or eaten on set/screen) also fall into this domain.

Propmaker: The creator of props. Propmaker Foreman: The leader of the construction crew. Props 5-Ton: A 5 ton truck used to transport props. Publicist: The person who conceives and oversees the publicity campaign that opens a movie. In many cases, this person never even appears on the set -- especially if the movie is a pickup and didn't have a releasing studio at the time it was produced. Publicity: The section of a production's crew responsible for promoting a movie. Individual positions within in this department include: unit publicist, publicity assistant, and stills photographer. Pumping Supplies: Supplies used to pump gas into vehicles. Rawstock: Unexposed filmstock Reel: A strip of film wound on a metal wheel. Typical reels hold 15-25 minutes of film. Rehearsals: A practice session in preparation for a performance. Release Print: A release print is the reel of film that is sent to a movie theater for exhibition. Repairs & Maintenance: The cost to repair or maintain equipment. Research: Costs from the writer, director and producer in their creative preparation of filming. Reversal Print: A type of photographic film that produces a positive image on a transparent base.

Rigging Equipment: Equipment that set, hang and focus lighting instruments and constructing scaffolding used in making film sets. Safety: Costs associated with training and materials for ensuring the safety of the cast and crew. SAG: The Screen Actors Guild is an association with jurisdiction over some works that can be recorded by picture or by sound. SAG â€“ General Extras: Extras that are members of SAG. Screening: An exhibition of a movie, typically at a cinema. Script Clearance: The legal process of researching the scriptâ€™s title and content to ensure it is not owned by another entity. Script Supervisor: A person who tracks which parts have been filmed, how the filmed scenes deviated from the script; they also make continuity notes, creating a lined script. Second Unit: A small, subordinate crew responsible for filming shots of less importance, such as inserts, crowds, scenery, etc. Sedan Driver: Someone to drive the sedan vehicle. Semi/Honeywagon Driver: Someone to drive the semi/honeywagon. Set Decorator: A person who has total charge of decorating the set with all furnishings, drapery, interior plants, and anything seen on indoor or outdoor sets. The set decorator has authority over a leadman.

Set Design: The translation of the production designer's vision of the movie's environment into a set which can be used for filming. Set Dressing: Elements such as curtains and paintings, and moves and resets on the set that decorate to accomodate camera, grip and lighting setups. Set Dressing 5-Ton: A 5 ton truck used to transport set dressing material and equipment. Set Labor & Material: Labor and materials used to construct the set. Set PA: The production assistant based on the set. SFX Truck: The truck used to transport special effects material and equipment. Shipping & Postage: Costs of stamps and shipping. Shoot: The filming of major or significant components of a movie which involve lead actors. Shop Setup: The costs of creating a shop to help construct the set. Signage: Signs used on the set. Song Purchases: Songs bought for use in the film. Sound Package: The cost of the post production sound equipment and crew. Sound Transfer: The process of transferring sound from PAL to NTSC or NTSC to Pal as well as different film formats including converting the mix session to the answer print. Special Effects: An artificial effect used to create an illusion in a movie.

Refers to effects produced on the set, as opposed to those created in post-production. Special Operator: A member of the electrical group who specializes in operating lamps, and generators. Special Visual Effects: Alterations to a film's images during post-production. Sr. Set Designer: The person who handles all design and artwork, oversees production set-up drawings, and the release of drawings. Stakebed: A Stakebed is a flatbed with some removable gates of various heights (40" most common) to carry taller cargo and have it remain on the bed. All Flatbeds and Stakebeds come with a standard square headboard to protect the cab from damage. Standby EFX:Â Additional help to assist the Effects Coordinator and Effects Foreman. Stand-Ins: A person who has the same physical properties of a particular actor, and takes their place during the lengthy setup of a scene. This allows the actor to prepare for the filming itself. Star Costs: Any extra costs above the SAG minimum related to the lead actors, including their salary quote, plane tickets, cars, security, etc.

Steadicam Operator: A camera operator who operates a Steadicam which is a camera attached to a camera operator via a mechanical harness which reduces or eliminates the unsteadiness of the operator's motion. Still Photographer: A person who photographs the action (often alongside the camera) to be used in publicizing the movie. Stock Footage: Film or video footage that is not custom shot for use in a specific film or television program. Story & Screenplay: All written work by the writers of the film. Storyboard: Graphic organizers such as a series of illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence, including website interactivity. Strike: Disassembling of a film set and equipment. Stunt Coordinator: An experienced stunt performer who is hired by a TV, film or theatre director or production company to arrange the casting and performance of stunts for a film, television program or a live audience. In many cases, the stunt coordinator budgets, designs and choreographs the stunt sequence to suit the script and the director's vision. Stunt Players: A specialist actor who performs stunts.

SUI: State Unemployment Insurance W/C Stunt Performers: Workers Compensation for Stunt Performers. Supporting Cast: Actors who play characters that that are speaking roles but not the principal characters. Survey Costs: The costs to travel and research locations. Swing Gang: The group within the art department that construct and take down a set. Tapes/Batteries: Tapes and batteries used in film, sound, electrical, and any other equipment. Teacher-Welfare: Teachers hired when minors are cast in the film. Telecine: The process of transferring moving images from film to a video signal, including frame rate and color corrections. Also the equipment or facility used to do it. Tests: Film and camera tests during pre-production. Textless Titles: A deliverable of the film without any text on screen. Thriller Genre: A genre of films often characterized by suspense, mystery, fast pacing, action and resourceful heroes who must foil the plans of more-powerful and better-equipped villains.Â It also usually has less action and special effects than an action film. Title Search: A legal search done to determine if the title is already reserved. Titles: Opening and closing credits including their design.

Trainee: A person who is part of the DGA training program that works under the supervision of DGA members - Second Assistant Directors, First Assistant Directors and Unit Production Managers until graduation. Transfer: Film transfer to telecine, DVCam tapes, DVDs, DAT audio and sound transfer. Transportation Coordinator: The person responsible for managing drivers and coordinating the transportation of a production's cast, crew, and equipment from the various locations and sets used for filming. Trash: Garbage produced during the film. Travel & Living: Hotel and airfare costs. Umbrella Liability: A type of liability insurance available to individuals and companies protecting them against claims above and beyond the amount covered by their primary policies or for claims not currently covered. Unit Production Manager: Reporting to the film's producer, this person supervises the budget, hires the crew, approves purchase orders & time cards, and generally makes sure all departments are doing their respective jobs within the parameters of the budget. Video Assist Equipment: A video camera that allows instant review of a scene to monitor framing, focus, and performance. Video Assist/Playback: The person who operates a video camera that allows instant review of a scene to monitor framing, focus, and performance.

Video Master: The video master is used as a deliverable and must be available for Digi-beta down-convert and also for a possible film. W/C Production/All Other DGA: Workers compensation for all other below-the-line DGA. Walkie Talkies: Equipment used to facilitate communication between crew members while on set. Wardrobe: The section of a production's crew concerned with costumes. Wardrobe Truck: The truck that carries the costumes. Water Truck: A truck used for safety in the case of fires as well as washing other trucks. WGA: Writers Guild of America Workprint: A workprint is a rough version of a motion picture, used by the film editor(s) during the editing process. Such copies generally contain original recorded sound that will later be re-dubbed, stock footage as placeholders for missing shots or special effects, and animation tests for in-production animated shots or sequences. Wrap: The conclusion of filming for an actor, set of production. Writer: The person(s) paid for writing any draft or section of the script.

Question: In film making what name is given to the chief technician who builds and arranges the film set?
Answer: Key Grip